I would love general feedback and small tweaks. I have a bunch to refine for the leads (right now they are improvising sections that I’d like to make more specific) and the ending isn’t quite finished but basically the dancers will All run into the audience, each giving bottle/s to someone, except for the one USR. There will be integrated video footage of the dancers at the river as well.
More important though, I need to check with you all about the name of the piece...
Is it B2B or is it B2B inspired?
Maybe “fight the fear” could be part of it?
ex:
“Back to the Beautiful: Fight the Fear”
Or just
”Fight the Fear”
And in the description either way, write that its inspired by Back to the Beautiful series lead by you two, or is it the Borders ReSurfacing long distance process to credit, or both?
Here is a rough draft:
https://vimeo.com/393741197
password: b2blbc
More important though, I need to check with you all about the name of the piece...
Is it B2B or is it B2B inspired?
Maybe “fight the fear” could be part of it?
ex:
“Back to the Beautiful: Fight the Fear”
Or just
”Fight the Fear”
And in the description either way, write that its inspired by Back to the Beautiful series lead by you two, or is it the Borders ReSurfacing long distance process to credit, or both?
Here is a rough draft:
https://vimeo.com/393741197
password: b2blbc
Congrats on pulling together a full draft!
ReplyDeleteRe: title and credits - I would say that the work is inspired by B2B rather than B2B itself -- so just "Fight the Fear" -- and I would suggest saying it's inspired by Back to the Beautiful (Water Memories) and leave out Borders Resurfacing, since that process was years ago. I don’t need to personally be named if PNC is, though of course I am fine if you want to credit us personally.
Generally, I see a contrast between "organic," curvilinear movement and geometrical movement combined with strong rhythmic footwork, which suggests a tension between the natural world and the man-made architecture and borders (the wall) we put up. I especially like the movement material you crafted around the soloist speaking the undocumented poetry -- very geometrically satisfying and interesting reveals/conceals -- and the vocal quality of the singer.
A few things:
-Curious what the video looks like and where it'll be projected!
-For the initial entrance, it seemed that blonde white female presenting folks were the first several bodies that we saw; was this on purpose?
-I would love a little more space between the different clumps/groups in the beginning, so they can be seen more distinctly. -Does the wall of bodies ever face upstage? I know it's not classical BN and will give a butt-view, but seeing the backs of bodies feels more closed than the front of bodies to me, which is more human/personal/open.
-What meaning do the different parts of the stage have (upstage, downstage, etc.)? What relationship do people trapped on different sides of the water have to each other?
-For the "lotus" blooming movement done by the dancers lying on the ground while the soloist walks among them, I'd love to see a little more off-set or canons rather than unison to give the slightly random sense of flowers blooming in nature; also perhaps a little variety in speed. I find the upside-down movement (the shoulder stand in the V and then with the shoulder stand with two legs vertically upwards before the feet do the lotus movement) a little distracting because the leg positions communicate "yoga" or "dance" positions more than the sense of blooming to me. They could be slightly modified (less straight leg, more unusual bends or angles or twist) to give that same organic sense as the arms.
-Why is soloist USR still for a really long time while a bunch of other stuff is happening onstage? I interpreted their movement as being another embodiment of the poetry, responding as much to the sound of it as the meaning, but wasn't completely sure of the meaning of their movement once everyone else started handing out water. Their movement quality felt a bit struggling/angsty there, so I suppose they're still trapped or bound somehow?
Beautiful work and please ignore anything that's not useful!
lovely work- wow so much! I know it's the first draft- so I know the performance is stil being worked on- comments are about intentino/honing - take whats useful! LOVELY MOMENT at TC 0:22, TRANSITION at TC 0:45-0:48 not as clear (as group moves back – in fact I wonder about the energy/flow of that group first moving upstage right and then exiting at around 0:55 – what is their energetic throughline?)
ReplyDeleteENTRY at TC 0:48 from downstage left is lovely
In general it's lovely to establish that entering from downstage left to exiting upstage right until TC 1:38 satisfying and strong. IT nicely sets up the disruptive entrance from the other side and the “wall”
after this it's harder to read the spatial arrangements/rekationships.
Lovely moment of the dancer walking between the dancers doing the hand /lotus- maybe that can be refined?
After that TC 7:24ish, the legs in the air is more confusing, the dancer walking is not longer as visible and the movement is not as strong compared to the previous hand movement.
Lovely to pass the water bottles down- I wonder is you can play with timing there, as the girls in the audience seem to be waiting
Beautiful work- wow they dance, talk, sing!
What will be the role of the video?